REVIEWS

"With spot-on intonation and a pretty, virginal tone she was a sensation"

Carmina Burana with the National Symphony Orchestra, July 2017

-Charles Downey, Washington Classical Review

Utah Symphony: Candide, November 2018

“Owens showed the vocal brilliance to pull off the demands of her role. She sang her high notes effortlessly and gave a stunning rendition of the showstopper ‘Glitter and be Gay.’ She also showed remarkable acting talent, playing up the sassiness of her role wonderfully.”

-Utah Arts Review

“Amy Owens as Cunegonde also slayed in the show’s best-known song, “Glitter and Be Gay.” In the number, Owens put on an operatic clinic, showcasing a dazzling array of vocal abilities. During the extended applause that resulted, the man next to me exclaimed, ‘That’s why I came! To see that right there!’”

-Utah Theater Bloggers

Photo by Dana Sohm

Library of Congress: Bernstein Centennial Concert, May 2018

Amy Owens was marvelous in the show-stealer “Glitter and Be Gay,” cracking up not only the audience, but the other singers on stage, so that they had to take a break before finishing with Bullock’s moving “Somewhere.”

-Anne Midgette, Washington Post

Omaha Symphony: Mahler 4, April 2018

Amy Owens returned to Omaha to sing the soprano passage in the final movement of Mahler’s 4th. Her voice was fresh and electrifying. The audience warmly stood and applauded Owens and the Omaha Symphony.

-Drew Neneman, Omaha World Herald

Livermore Valley Opera: Un Ballo in Maschera, March 2018

However, the king’s page, Oscar, leaps to Ulrica’s defense with the aria “Volta la terrea.” In this trousers role, bell lyric soprano Amy Owens absolutely delights with a bright, virtuoso coloratura rendering of the aria. Her petite youthfulness produces a characterization that is charming and highly believable. -Victor Cordell, For All Events

In the ballata “Volta la terrea,” her coloratura flows like sparkling champagne through dotted eighth notes and runs of sixteenth notes when she devilishly gives credit to Satan for Ulrica’s gifts of prophecy, and ends by belting out the word “Hell” on a bombastic high B-flat. -Sarah Bobson, The Independent

On Site Opera: La mère coupable, June 2017

“Amy Owens, possessed of a radiant soprano, was a passionate Florestine, convincing in both her grief and her joy.” -Joshua Rosenblum, Opera News

Florestine, the sister and ward of the count, was sung by Amy Owens. She has a lovely light coloratura voice and soared over a demanding range easily. -Susan Hall, Berkshire Fine Arts

Amy Owens was the coloratura soubrette incarnate, with the most effortless high notes-Harry Rolnik, Concerto Net

Amy Owens' gleaming soprano made for a scene-stealing Florestine -Richard Sasanow, Broadway World

The two soprano leads – Ms Black in the title role and Amy Owens as Florestine -- handled Milhaud’s melting lines with keen sensitivity. Ms Owens was the cast’s standout. -Sacha Evans, Bachtrack

Amy Owens’ Florestine was a fetching blonde ingenue with a gleaming coloratura; I look forward to hearing what else she can bring to new music. -Joel Rozen, Parterre

Wolf Trap Opera: L'opera Seria, July 2016

"Amy Owen’s light soprano and pert presence as the rising star of the company, Porporina (purple-faced), was compelling, and to her belonged the comic high-point of the whole evening, the hilarious dolphin and fish song, where everyone laughed so loud as to rival the music. But what a good complaint! Her mic drop at the end was a killer touch.”

Wolf Trap Opera: Rape of Lucretia, June 2016

Bright soprano Amy Owens also shines in the minor role of Lucia, Lucretia’s maid. -Mark Paarlberg, Washington City Paper

Also, the bright, silvery tone of Amy Owens as Lucia, the maid, and the warm, soothing sounds of Sarah Larsen as the nurse, Bianca. -Philip Kennicott, Washington Post

New Opera Showcase January 2016

"The vocal lines showed off the beautiful voices onstage, and Amy Owens, who filled in for a sick Maureen McKay, gave us a lovely performance with an expert control of dynamics in her coloratura range, seamlessly sliding from pianissimo to forte on several occasions." -Soprano in the City

"As Despina, Amy Owens steals the scene every time she walks onstage....Owens carries it off with glee, whether popping up in phony officials’ wigs and gowns or hovering over the sisters to powder and paint them as she slyly manipulates them....a triple threat in the theater." -Naples Daily News

"Amy Owens lent her soprano voice to the lyric modal machinations of the three featured pieces....Owen’s soprano was clear and articulate in every selection as she painted the very different pictures of each song–we heard a lifetime in the span of a few moments." -Sherri Rase, Qonstage

Utah Opera: Abduction from the Seraglio, 2014

"Utah Opera's season-ending production of The Abduction From the Seraglio (seen May 10) got a shot in the arm in Act II from soprano Amy Owens, an ebullient resident artist with the company cast as Blonde. Owens' plucky Blonde was a breath of fresh air, charming her captors into submission and dishing out a healthy dose of attitude when more subtle wiles failed. Owens's lyric soprano was as uninhibited and pointed as her character. Throughout the aria "Durch Zärtlichkeit und Schmeicheln," she negotiated runs cleanly with open top notes and trills that matched her sparkling wit." -Opera News

"abundant charm and solid technique." -Salt Lake Tribune

"Amy Owens is positively infectious as Blonde, easily stealing the show. Her comedic timing, dazzling vocals, and darling personality are the work of a true professional and exactly what the opera deserves." -Cliff's Music Picks

"engaging, charismatic....strong performance with both vocals and acting.... Owens added a much-needed dose of energy and spunk to the production. A natural on the stage, she stole the show with the scene in Act II when she teases Osmin and stands up to him." -Reichel Recommends

"Amy Owens, playing Susanna, bubbled her way through the evening.... Owens's high-flying vocals were later heard in a technically clean and focused Queen of the Night aria and Bernstein's 'Glitter and be Gay." -Opera News